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Denna rapport avser arbetsprocessen bakom ett examensarbete på Mälardalens högskola med tema”flöde och processer”. Arbetets uppgift har varit att framställa en informativ bildserie för barn iårskurs 0 till 6 som informerar om källsortering och motiverar att källsortera. Rapporten innehållerkvalitativa undersökningar kring hur man framställer bra effektiv informationsdesign anpassat förbarn, hur man finner rätt bildmanér för målgruppen samt huruvida om serier är effektfulla i läromedel.

I mitt projekt har jag undersökt hur jag kan hitta nya ingångar till att göra bild på. Jag har gjort detta genom att använda mig av en bok som utgångspunkt – vilka nya ingångar till bild kan ett så rikt textmaterial ge? Hur kan jag förhålla mig till textmaterialet och utifrån det hitta nya och oväntade ingångar till att göra bild på? Projektet behandlar också till viss del att hitta tillbaks till en borttappad skaparglädje, och resulterade i sammanlagt tio illustrationer / bilder. Textmaterialet ledde mig in i en bildvärld som behandlar och bearbetar min uppväxt och var jag kommer från. Minnesbilder från Öhn utanför Strömsund i Jämtland hos min morfar där jag tillbringade mycket tid som barn. I bilderna finns saknad och längtan, trygghet och rädsla, skräck, drömmar, avsked och minnen. Och en fascination för naturen.

The following essay is a thesis in Information Design with orientation in Informative illustration. The collaboration with the TT News Agency, which forms the basis of the work, presupposes that an information graphic about the history of smoking is produced, which occurs in connection with the new tobacco law coming into force on July 1, 2019. The purpose of the thesis is to examine how the formation of image manners can affect the historical connection to an illustration, and examine whether this can contribute to a perceived development of time. The aim of the enquiry is to explore whether it is possible to create a "timeline" without a line, using manners.   Through data collection and theories in semiotics, visual rhetoric, cognitive visualization and perception, as well as previous experiences throughout the education in Informative illustration, concept and design proposals were created. Methods used in the thesis are image analysis and testing, which took the form of an internet survey. The former was implemented to understand how the manners of the illustration should look like to create an affiliation to the stated time periods. The latter was carried out to investigate whether the target group experiences the connection between the illustrations and the time periods, and to investigate whether the illustrations together contribute to a historical development. The result of the study shows that manners can contribute with a historical connection, but the illustrations with a more distinctive appearance are considered easier to interpret. The result also concluded that object´s, such as clothes and jewelry, contributes to the understanding of the illustrations historical affiliation. Manners can also contribute to a perceived historical development, whereupon 96 percent of the survey participants perceived this. / Följande undersökning är ett examensarbete i Informationsdesign med inriktningen Informativ illustration. Samarbetet med TT Nyhetsbyrån, som ligger till grund för arbetet, förutsätter att en informationsgrafik om rökningens historia gestaltas, vilket sker i samband med att den nya tobakslagen träder i kraft 1 juli 2019. Syftet med examensarbetet är att undersöka hur utformning av bildmanér kan påverka den historiska kopplingen till en illustration, samt undersöka om detta kan bidra till en upplevd utveckling av tid. Målet med undersökningen är att utforska om det är möjligt att skapa en ”tidslinje” utan linje, med hjälp av manér.Genom datainsamling och teorier inom semiotik, visuell retorik, kognitiv visualisering och perception, samt tidigare erfarenheter inom utbildningen Informativ illustration, utformades koncept- och gestaltningsförslag. Metoder som brukats i arbetet är bildanalys och utprovning, vilket tog form utav en surveyundersökning. Den förstnämnda genomfördes för att få en inblick i hur gestaltningarnas manér bör se ut för att skapa en tillhörighet till dess specifika tidsperiod. Den nästnämnda genomfördes för att undersöka om målgruppen upplever illustrationernas koppling till de tänka tidsperioderna , samt undersöka om målgruppen anser att illustrationerna i samverkan bidrar till en historisk utveckling.Resultatet av undersökningen påvisar att manér kan bidra med en historisk koppling, däremot anses de illustrationer med ett mer utmärkande manér enklare att avläsa. Det framkom även att bildobjekt och föremål, likt kläder och smycken, är bidragande vid förståelse för illustrationens historiska tillhörighet. Likaså kan manér bidra med en upplevd historisk utveckling, varpå 96 procent av enkätens deltagare anses uppfatta detta.

Bland paleontoligifokuserad media riktad till barn så är dinosaurier väldigt överrepresenterade, och utifrån mina observationer så är kunskapen om andra förhistoriska arter därför låg. Därför så har jag skapat ett koncept för en paleontologisk barnbok om icke-dinosaurier, och bokens illustrationer har anpassats efter målgruppens behov. För att ta reda på vilken stil som är bäst lämpad för ämnet så har jag genomfört tester, genomfört intervjuer och granskat tidigare paleontologiskt material. Detta har lett mig till slutsatsen att stiliserade men samtidigt faktamässigt korrekta och icke-abstrakta illustrationer är den bäst lämpade stilen för faktaböcker om paleontologi riktade till barn i mellanstadieålder. Denna kunskap kan var till nytta för att skapa böcker med information som målgruppen tar åt sig av, och det kan även vara mer ekonomiskt i och med att stiliserade illustrationer går fortare att producera.   Nyckelord: Illustration, paleontologi, pedagogik, barnläromedel / Among paleontology-focused media aimed at children, dinosaurs are really overrepresentated, and based on my observations, the knowledge of other prehistoric species are low. Because of this, I’ve created a concept for a paleontologic children’s book about non-dinosaurs, with illustrations that are adapted for the needs of the target audience. To find out what style is the best suited for the subject, I’ve performed tests and interviews and analysed earlier paleontologic material. This has led me to the conclusion that stylised but still factual and non-abstract illustrations are the most well-suited style for factual literature about paleontology aimed at the target audience, middle school-aged children. This knowledge can be useful for creating books that the target audience are likely to absorb, and it can also be more economic since stylised illustrations is quicker to produce.   Keywords: Illustration, paleontology, pedagogy, children’s factual litterature

This PhD began by attempting to locate the Epic of Gilgamesh within a contemporary landscape and using a comparison of Michael Ayrton and Sidney Nolan as a means of creating a body of narrative based drawing. Initial work, however, illustrated rather than illuminated the text. As the research evolved, analysis of the text as a model for thinking and the different approaches to landscape from Ayrton and Nolan, clarified that the metaphorical journey of Gilgamesh required a different drawing practice. The Epic of Gilgamesh was written in cuneiform script on clay tablets some four thousand years ago. The fragmented and incomplete tablets have survived by chance. Failure, evident in Gilgamesh’s quest, suggested exploring contingency and failure as agents of creative practice. The opportunity to draw directly from the clay tablets in the collection of the British Museum generated the insight that the apprehension of physical objects and their recording as image through drawing, also works as a process of visual translation. The original clay tablets became a source for making drawings possessing a physical equivalence beyond the normative approaches to translation and narrative. This was the central aspect of the final research, superseding the narrative drive that had been the original starting point. Models of working allusively with narrative and landscape were also provided by unique access to the archives of Sidney Nolan at The Rodd, in Herefordshire, and by analysing in parallel the work of Michael Ayrton. This aspect of the research developed as a way of asserting that in the liminal space of the studio, equivalence can be found with the complex and contingent aspects of quest narrative as exemplified by Gilgamesh. Working large scale, the final works produced for this PhD explore translation and transcription in drawing through the surface accretions of material, gesture, intuition and fold.

This practice-based thesis aims to explore and demonstrate the conflict that exists between traditional, male-oriented attitudes and feminist perceptions of the female nude within the context of life drawing practices. The research interrogates the problematisation of life-drawing practice for female practitioners, proposing that perceived tensions and conflicts can be resolved through practice-based enquiry. In response to this, practice has been devised and tested, that negotiates this opposition, evolving an innovative system of projective geometry for drawing and painting which considers representations of the female nude in a way that is compatible with a specifically female viewpoint. The methodology includes: 1. The development of a portfolio of paintings and drawings of the female nude produced in the life drawing room by a female practitioner. This body of work is integral to the submission. 2. Qualitative questionnaires and discussion groups which inform, support and substantiate findings. 3. A literature review which considers the historical background of life drawing and the role played by female practitioners in academic life-drawing leading to an explanation and practical enquiry of sight-sized drawing that epitomises the habitual rituals of the life drawing class in relation to the researcher’s gendered interests. Conclusions and outcomes: The literature review together with other findings are analysed and synthesized, leading to an overview of four interrelated waves of feminism and feminist theory. The emergence and influence of a Negative Feminist Critique of the Female Nude is shown as related to the subjective female identity and interests of the artist. Through the creation of a feminist strategy, demonstrated to be antagonistic to the traditions of the female nude, have resulted in an alternative canon of the female nude that hinges on the interpretation of artworks and affects, but is distinct from, the experience of practitioners. Interactions with the model are identified as crucial to negotiating existing precepts of the female nude in female-directed life drawing practice. Questioning if linear perspective is intrinsically voyeuristic and analogous to a peep show reveals this position as socially- rather than materially-constructed. The extended drawings articulate multiple viewpoints without fragmentation and prioritise experiential understanding of process over external critiques of content. A series of extended paintings is examined in relation to the artist’s formally based material interests in painting and stitch combined with socially-formed interactions of collaboration and empathy. Resultant art works intervene in the field of existing life-drawing conventions and demonstrate a recognisably female sensibility in their representation of the female nude. These findings will be used to inform future life-drawing practice and pedagogy.

The focus of this research is the critically neglected comic strip work produced by the Irish painter Jack B. Yeats for a number of British publications between c. 1893 and 1917. The thesis seeks to identify and analyse the corpus of his previously unexamined work, positioning it in relation to contemporaneous media, entertainment and popular culture, as well as to the early development of the British comic. This thesis seeks to establish the key role that Yeats played in the early development of the form, during a key phase in its evolution. The claims that the thesis makes for Yeats as an important comic strip artist are based on extensive archival research, focused on comics such as Comic Cuts, The Big Budget and The Halfpenny Comic published in London by Alfred Harmsworth, Arthur Pearson and George Newnes respectively. He went through a number of identifiable phases in terms of his graphic style, producing a very substantial volume of work over the course of his career, largely in the form of series of strips featuring recurring characters, a number of which became very popular with the reading public. Yeats has almost exclusively been discussed in terms of his fame as a fine artist, despite the fact that his comics work was widely disseminated during his lifetime. Given that the work was once well known, as part of a novel and widely circulated mass medium, it is necessary to interrogate the absence of this material from art-historical accounts of his work and reassess Yeats as a comic strip artist. In Ireland there has been a tendency to articulate Yeats in terms of national identity, and thus avoid recognition of his engagement with, and contribution to, British popular culture. Issues regarding the mutual exclusivity of the ‘high’ and ‘low’ cultural registers in which he operated has likewise resulted in the valorization of a particular area of his creative activity and the exclusion of the material acknowledged, discussed, and celebrated here. The repositioning of Yeats in relation to comic strip art has profound implications for the study of twentieth century Irish art generally, and for Yeats connoisseurship specifically, and proposes significant challenges to both, as well as making a contribution to British comics history.

Cartoons have traditionally occupied an important place in French visual culture, and are now a permanent feature in even the most prestigious publications, including Le Monde, where they appear on the front page. Moreover, there is a long tradition of political cartooning which is firmly situated within the historical context of caricature and lampooning, which over the years has contributed to public debates on key issues such as politics, religion and social change. In this thesis, I focus on political cartoons and argue that the political cartoon is still significant as a cultural product and as a powerful journalistic medium at a time when the existence of the print media is threatened by new technological developments. In order to understand how cartoons remain a powerful mode of expression in the twenty-first century, I begin by examining the historical development of cartooning, tracing its origins in grotesque art, physiognomy and caricature. I then explore a number of events in early modern European history such as the Reformation and the French Revolution to show that the medium was used as a means of mass communication, to inform a largely illiterate public, incite protest and instigate rebellion through propaganda. I show how political graphics were used as effective political weapons against the ruling authorities, in the face of tight regulation such as censorship, and underline the French artists' commitment to defend their right of expression. As I demonstrate, this commitment continues to be pursued by contemporary French cartoonists such as Plantu who is dedicated to fighting for freedom of expression and promoting peace issues, under the banner of Le Monde and the United Nations. In analysing a corpus of Plantu's editorial creations, I underline theoretical perspectives for ‘reading' cartoons and illuminate the visual rhetoric used by cartoonists to communicate serious issues. I conclude with an assessment of the significant role that French cartoonists played during the 2006 Cartoons War to further highlight the impact of cartoons as a vehicle for political communication, and as a catalyst for debate in the twenty first century.

<p>Användningsområden för 3D ökar hela tiden, och allt fler företag väljer att</p><p>använda sig av 3D tekniken istället för av traditionella tekniker. Som avslutning</p><p>på mina studier har jag byggt en 3D-karta över Stockholm för Dagens Nyheters</p><p>grafikavdelning. 3D-kartan ska fungera som ett verktyg när de skapar grafik.</p><p>Under framställningen av den här rapporten har min huvudfrågeställning varit hur</p><p>man framställer en informativ 3D-karta.</p><p>Utifrån den frågeställningen har jag sedan genom stöd i litteratur byggt 3Dkartan</p><p>och testat materialet på tre olika fokusgrupper.</p><p>Utprovningarna visade att kartan i dagsläget ligger på en tillräckligt hög</p><p>detaljnivå för att kunna lokalisera sig på ett visst avstånd. Vill man använda kartan</p><p>för närmare zoomningar bör detaljnivån utvecklas. Annars var fokusgrupperna</p><p>överlag nöjda med färgerna i kartan och tyckte att färgskalan bidrog med en större</p><p>förståelse.</p>